wistful love song by Cassie about Zach as she leaves the stage. Another change from the stage show to the movie sees the character of Bebe being selected as one of the final eight dancers, rather than Judy. The stage musical was one of the first productions to address the subject of gay actors within the theatre. However, the film version opted instead to make a more "family friendly" film by dealing less with the experiences of gay actors. Six months prior to release, Embassy Pictures was sold to The Coca-Cola Company, who also owned Columbia Pictures. Five months later, Dino DeLaurentiis acquired Embassy but he did not acquire the 20% interest in Embassy Film Associates, which created some confusion over who would handle the film, which was already scheduled to be distributed by Columbia. Reception Critical response In his review in The New York Times, Vincent Canby observed, "Though it was generally agreed that Hair would not work as a film, Miloš Forman transformed it into one of the most original pieces of musical cinema of the last 20 years. Then they said that A Chorus Line couldn't be done—and this time they were right...Mr. Attenborough has elected to make a more or less straightforward film version that is fatally halfhearted." Roger Ebert of the Chicago Sun-Times stated, "The result may not please purists who want a film record of what they saw on stage, but this is one of the most intelligent and compelling movie musicals in a long time—and the most grown up, since it isn't limited, as so many contemporary musicals are, to the celebration of the survival qualities of geriatric actresses." Variety said, "Chorus often seems static and confined, rarely venturing beyond the immediate. Attenborough merely films the stage show as best he could. Nonetheless, the director and lenser Ronnie Taylor have done an excellent job working within the limitations, using every trick they could think of to keep the picture moving. More importantly, they have a fine cast, good music and a great, popular show to work with. So if all they did was get it on film, that's not so bad." Time Out London says, "The grit and drive of the original have been dissipated into studiously unkempt glitz as empty as plasticised pop ... It's too corny and unbelievable for words." Kelly Bishop, the original stage Sheila, noted, "It was appalling when